Film Red is the second most idiosyncratic One Piece movie, thanks to its overt reliance on musical performances and the spotlight focused on Uta, a new female character. It also has the benefit of bringing out Shanks, who is one of the most important yet mysterious characters in the original work, as an active participant. While this is not a canonical story, I have found a lot to enjoy this time around and wish to share my thoughts and feelings with some open-minded readers.
Of course, it is hard to ignore the commercial success of the movie's theatrical release, which proves Film Red has resonated
...
with many thousands of people across Japan. However, I will warn those who are expecting more of the same that they may not always find it here. Thus I can at least respect, even in the midst of disagreement, those who felt this movie struck a discordant note.
Why are there such vocal viewer reactions, alternatively expressing their love and hate for the end product? It's because Film Red brings together a relatively unique mix of rock opera, character drama and all-star battle through a couple of daring artistic choices. Thematically speaking, this movie also implicitly challenges a few of the assumptions that are common among a certain percentage of the One Piece fanbase.
As you can easily imagine, that approach will not sit well with everyone. For me, Film Red doesn't seek to establish a new standard in terms of shonen battle spectacle, but it still reflects a key part of the emotional core of One Piece. There is plenty of merit in this.
From a certain perspective, one of the great virtues of Eiichiro Oda's manga masterpiece has to do with the value of found family and the clash between different ideals of justice in a world that can simultaneously be incredibly colorful and whimsy while also continuing to be fundamentally unfair and occasionally outright cruel. Despite all of the twists and turns of this latest cinematic narrative, I would say the movie remains true to an interpretation of this idea.
STORY: 7.5/10
In many fictional stories, the most admirable heroes are those who simply fight against absolute evil and win. In the case of One Piece, there are plenty of those situations and our hero Luffy usually has his heart in the right place, but for me some of the best parts of the original story focus on the struggle of those characters who combine virtues with flaws and imperfections. Even if their motivations are ambiguous or even misguided, I have always been more interested in the little stories of characters who, whether important or not, at least try to stand up against the world to fight for what they believe in. Sometimes they win, sometimes they fail.
Regardless of the merits or even the desirability of either side's beliefs, there can be a lot of poignancy in those moments. It doesn't matter if you're part of the Marines, Shichibukai or Yonko...your position doesn't necessarily mean all of your beliefs are right or wrong. Sure, we all know that One Piece is ultimately a Shonen Jump publication and this means there are certain ethical limits. I don't expect the grand tale of Luffy and his friends to end on an unhappy note, to be honest, but the story has occasionally reached towards exposing a darker underbelly than what its colorful surface suggests. In the long run, we trust those glimpses into a dark reality are only obstacles and a brighter future is waiting for our cast of characters.
On the other hand, there is also a degree of artistic value in the act of depicting what would happen in the One Piece world when the pressures are just too strong and you'd rather escape from reality...both for yourself and for the sake of others (or say, to meet the expectations and demands of others). In a way, that same sensation of tension and determination is part of what I can appreciate about Film Red's script.
Predictably enough, it isn't simple to make One Piece: Film Red fit into any specific part of the larger One Piece story.
You would quickly find small and large inconsistencies upon looking at the chronology. Yet, speaking only for myself, I was able to watch the movie as a standalone project with ease. When we are dealing with an alternate non-canonical storyline, as almost all One Piece movies are, the screenwriter can afford to play rather fast and loose with the absence and presence of various characters, abilities or locations.
Is it perfectly written? No. Does it need to be? Nope. While the formal narrative is arguably the weakest link in Film Red, it has also incorporated quite a few of the themes of One Piece while bringing a certain amount of fresh air into the room. I happen to find the features and consequences of that decision to be worth appreciating in multiple ways.
In short, Eiichiro Oda himself supervised the creation of this movie and he was getting tired of creating "legendary old men". With a small number of honorable exceptions, most of the One Piece theatrical entries have fallen into a rather typical methodology: Luffy and the Straw Hats run into a new and seemingly all-powerful male foe, leading to a great battle where this enemy is inevitably defeated. Everyone can go home and be happy. The End.
That's all well and good, but at some point it's nice to add a little variety. Based on that premise, the story of Film Red is less of a straightforward pirate action adventure and more of a vehicle for the exploration of a new fictional character, Uta, through the use of musical expression. It would not be out of line to say that the term "musical battle" has been applied both literally and figuratively to this production with controversial yet arguably excellent results.
Specifically, Uta, the idol and songstress who is the undeniable center of this movie, represents a concrete departure from the norm.
Saying too much would be a spoiler, but the first half of Film Red is essentially built to introduce us to a set of mysteries. Mysteries with a degree of useful foreshadowing, as a matter of fact, although not everything will be immediately clear. To be sure, there are at least two big plot twists that aren't even remotely hinted at in the trailers. One of them is rather typical and can be found in plenty of other fictional works, yet it is still comparatively new within the context of the One Piece universe.
Unsurprisingly, resolving any mystery usually requires exposition. Around the midway point of the movie, the pace does tend to drag. This mystery-solving, so to speak, does provide a number of secondary characters with a chance to shine, but I agree it can feel rather heavy in the moment. That said, the musical sequences were able to revive my interest whenever it threatened to drop.
Now, strictly speaking, it would be incorrect to label Film Red as a complete musical. There's been some hyperbole about most of the movie being nothing other than songs in the old-school Disney fashion, which is objectively inaccurate.
However, I can find a grain of truth in that statement. The viewers' ability to enjoy this project will rely, to a considerable extent, on their willingness to open their hearts and minds to what the movie is trying to do. Frankly, this is always more of an emotional process than a purely logical one. If that fails, then the entire house of cards will crumble and you'll leave the theater bored and bitter. Not my personal case, yet I can understand why other folks might reach such a conclusion.
Once certain narrative keys have all been unlocked, Film Red's story pace speeds up during the second half and there is a large-scale battle waiting at the end. Yet this time, I would readily recognize that the outcome of the battle is the least interesting part. As spectacular as it is to see certain unexpected team-ups and so many powerful attacks being used...the real threat is not the external enemy, but an internal one. It is there that the Film Red script will play its final card and, for my money, the gamble was worth my investment. Naturally, this will vary depending on the viewer's own preference, tastes and capacity for empathy.
To put things in perspective here...any truly action-based movie like the mega-hit One Piece: Stampede would place far more attention on the battle choreography aspect. Yet Stampede, for all of its adrenaline, felt comparatively emotionally shallow. I dare to say that One Piece: Film Red is almost the exact opposite. For me, the relatively underwhelming combat was compensated by more of a theatrical and engaging approach to the drama.
CHARACTERS: 8/10
Oh boy. I'll only discuss a limited number of individuals in detail, because there's a large cast involved here and it would take too long. Ironically enough...they're a lot, but not near the level of Stampede's famously enormous list of participating pirates.
That said, I found even the secondary or tertiary characters to have a more convincing in-universe reason to show up. You still need a certain amount of key One Piece figures to really sell the scale of the threat. Quite a few get their own small moment too.
Is that fanservice? Sure, but celebrating existing characters is fine. When it serves a valid narrative objective it actually doesn't bother me. In a perfect world, I'd have liked to see the Straw Hats taking on a more formal leading role, yet one of the unique freedoms provided by the concept of a non-canonical One Piece movie is that the staff can afford to experiment. In other words, the camera can temporarily move away from them a little bit to serve other purposes. They'll continue getting more than enough development and a strong public profile in the main story, so there's no overwhelming urgency to feature them at this point.
Having said that, let's talk about the more central players.
Without being the deepest psychological examination ever, I think the storytelling's focus on the new character of Uta adds up to a fairly complex and potentially appealing characterization. From a bird's eye view, you could even draw a couple of contrasts with Nami's and Robin's arcs from way back in the day. All of which is part of why I'll honestly give Film Red a good amount of credit here.
Uta's motivations are tricky, because there's technically three of them, depending on what part of the movie you want to consider and how you interpret the meaning of these events. In this regard, her status as the daughter (!?) of Shanks provides a common starting point of understanding. Uta's background allows us to compare her with Luffy and his own aspirations. In practice, this achieves the goal of successfully introducing her to the existing One Piece world. The flashbacks are quite helpful as a method of humanization in this respect. Which is vital, given the twisted path the movie takes.
In a few words, there really isn't any other music-related character in One Piece with quite the same combination of positive and negative traits, especially not in the movies. She can go from genuinely funny and friendly to courageous, selfless, selfish, frustrating, annoying, pitiful, desperate and, yes, endearing. As a result, we can almost track Uta's emotional journey as communicated through the different songs. That's quite a novel approach for a One Piece project and, in and of itself, already makes her stand out. Furthermore, I recommend paying a bit of attention to her facial expressions.
I am not entirely surprised that people will either find a lot to love or a lot to hate in her, because both evaluations can be objectively supported. If we asked ten different people, we would get a significant split in terms of their judgments of Uta. Similarly, my own range of emotions towards her went through a lot of highs and lows...until the end, which left quite a lasting impression. With that in mind, I believe the creators of the film made the right decision to focus on Uta. Rather ambitious and even risky as an artistic decision, yes, but you'll never win big if you only ever dare to make entirely safe bets.
The other new individual of note is Gordon. Even though his screen presence in Film Red is significantly less than Uta's and his looks aren't anything special, I think Gordon was a surprisingly good fit for this story. While it's easy to dismiss him, especially without going into spoilers, there's a reason why ageless wisdom teaches us to avoid judging a person by his or her external appearance.
Next, there's the significant matter of Luffy. He is still Oda's eternal protagonist for the larger story of One Piece, by all rights and with all the benefits this position brings, but in this particular movie it's going to be a little different from the usual.
Luffy's still going to participate in battles and remains our nominal entry point into the situation. Yet, for once, his normal level of importance was held back by the nature of a standalone narrative focused on, gasp, someone else. Imagine that.
All the same, he still serves an interesting role in Film Red. In a sense, it's another way of putting him to the test compared to the usual type of enemies he has had to deal with.
You can also ask a number of questions as a result, not necessarily in the strict canonical sense but as general themes. What is Luffy's exact relationship to Uta? Does Luffy share her beliefs or does he maintain his own way of thinking? Can Luffy really solve every problem? What does Uta's story imply about Luffy's?
While it would require spoilers to address those points here, for me Luffy's role was still more of a positive than a negative.
Now I've finally come to discuss Shanks, who is the obvious elephant in the room.
Most viewers will be incredibly glad to see Shanks in Film Red. In fact, Shanks gets to do a lot more during this one movie than you might expect. More than what he's done in years, regardless of whether or not you're up to date with the manga. This inclusion might be debatable, because some other One Piece fans would prefer to keep Shanks strictly away from the spotlight until the original creator gives us all the details about him in a completely canonical work.
I can respect this way of thinking, despite not sharing it. Sure, there is also going to be some skepticism in light of the commercial nature of anime production. After all, Shanks was part of the promotional materials for the movie, but he isn't the protagonist. If you haven't paid any attention to the trailers, which make clear he isn't supposed to be the one central figure in this new story, that might be disappointing.
And yet, I would argue using Shanks in Film Red was a valid creative choice for two reasons.
First, because it's naturally cool to see Shanks as an active player in the action after so long. Why shouldn't we be hyped about that? They even found a creative solution to the "impossible problem" posed by Shanks being in a movie featuring Luffy.
Second, perhaps more importantly, because the movie does serve to tell us more about him. Both directly and indirectly.
There's his relationship with Uta, which has value in and of itself by developing Shanks as a father figure as well as by providing us with a curious method to reflect about the meaning of his relationship with Luffy. The way he reacts (or doesn't) to the events of this movie can show us more about his personality.
While almost the totality of the movie can never happen in the original storyline, I am confident that Oda made sure to supervise how Shanks would be depicted to guarantee he would be fully in-character here. Plus, as a bonus, we also get a couple of pieces of extra information about the past of Shanks that can add fuel to the fan theories about what's really going to happen with him.
ART AND ANIMATION: 8/10
Film Red was a very nice looking movie, for the most part. In particular, the musical performance scenes are a visual highlight for anyone who cares about this medium. Outside of the minor use of 3D with mixed results, I was pleased by the presentation, including quite a few nice storyboards. Great job!
Let's get this out of the way: yes, you can still find a number of less relevant sequences with pre-Wano arc levels of animation, particularly during a bunch of regular conversation scenes. It doesn't bother me, but I can see why those moments could take a few of the viewers out of the experience if they're used to the best parts of the TV series in terms of animation.
When the animators put their skills and resources at work, however, Film Red can be a feast for the eyes.
SOUND: 10/10
Perfect. No, seriously.
If you're going to make a movie where the use of music plays a central role in the storyline and one of the main characters is a singer, then the songs should be excellent. Otherwise, what would be the point of such an enterprise?
I'm glad to report that Film Red's creative staff made an impressive decision when they selected Ado to provide Uta's seven songs. She's great. Ado's collaborations with many famous artists cover a wide spectrum of emotional expression and musical genres, which bring a welcome variety to the sound of the movie and also feeds into Uta's characterization by reflecting her mental and emotional state.
They're used very well. I would say my favorites are "Backlight", "New Genesis", "Tot Musica" and "Where The Wind Blows".
Significantly, even the lyrics gain a different layer when you sit down to listen to them after watching the movie.
ENJOYMENT: 9/10
I like One Piece. Not as the most hardcore of fans, but enough of one to appreciate Oda's skillful storytelling and follow along with the storyline at my own pace.
At the same time, I think it's good to have movies where different aspects of the world of One Piece can be explored, even outside of strict canon. I welcome creators who try to do something new, even if it means taking a risk and not pleasing all of the audience.
The real goal of these movies isn't to satisfy every single person, which is almost impossible in this age, but to add new blood to the property and, at least in a manner of speaking, provide a path for new people to come in (and to make money, yes, but that is already evident to anyone reading this).
For me, Film Red has achieved the majority of what was required in this respect. As a work of entertainment, you don't necessarily need to be an expert on One Piece to appreciate this movie. In fact, I have heard of former One Piece fans in Japan who came back to see this film and had a good time. If at least some of them decide to pick up the manga or the anime, then this represents a net gain to the community.
Even so, there are specific things that will be more appealing to existing fans, especially those who are less interested in the result of a battle than in the emotional fallout. As mentioned elsewhere, this is less of a rollercoaster of action than a rollercoaster of emotions. If you are strictly logical and not particularly romantic (in the classic sense of the term, mind you), then Film Red may disappoint you.
In my personal case, I would like to invite anyone who found anything of interest in this review to give the movie a chance.
OVERALL: 8.5/10
Aug 12, 2022
One Piece Film: Red
(Anime)
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Film Red is the second most idiosyncratic One Piece movie, thanks to its overt reliance on musical performances and the spotlight focused on Uta, a new female character. It also has the benefit of bringing out Shanks, who is one of the most important yet mysterious characters in the original work, as an active participant. While this is not a canonical story, I have found a lot to enjoy this time around and wish to share my thoughts and feelings with some open-minded readers.
Of course, it is hard to ignore the commercial success of the movie's theatrical release, which proves Film Red has resonated ...
Reviewer’s Rating: 9
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Jun 18, 2021
Back Arrow
(Anime)
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If this show deserves any credit, it's probably for being the most underrated anime of 2021 thus far.
Back Arrow is a quirky series that may be a hard sell for audiences only interested in following the hottest modern anime trends, but its craziness can become quite charming and enjoyable for those with a more old-school sensibility and openeness for the mecha genre in particular. Which, to be sure, is exactly what you should expect from the combination of Kazuki Nakashima and Goro Taniguchi, since they are creators whose styles and tastes are reflected in the kind of low-intensity madness that Back Arrow has embraced. At its ... core, this was a Super Robot action/adventure show with a frequently whimsical bent. Unsurprisingly, there is a rather high amount of suspension of disbelief that necessarily comes with this specific category of Japanese media. Do you believe that guts, belief and emotion can be more important than pure logic and reason? If so, then there's a good chance you'll appreciate this anime. That approach describes me perfectly, so I was consistently entertained by Back Arrow on a weekly basis. Admittedly, I would say a part of me still wonders what would have happened if a more talented animation production studio such as Trigger, Sunrise or Bones had been in charge. While the series can provide some exciting sequences when required, it is undeniable that relative newcomer Studio VOLN was the weakest link and this, more than anything else, kept Back Arrow from achieving the recognition and appreciation it would arguably deserve on paper. But enough talk. Let's dig in and get to the other side of the wall of text. STORY: 7/10 The fictional world of Lingalind, where an individual's conviction can manifest in the shape of giant robots known as Briheights, was thrown into chaos by the sudden appearance of a person named Back Arrow: a strange man from beyond the world wall that surrounds and protects the land. Without any memories, Arrow wishes to return to the other side. As the narrative develops, our protagonist encounters a very colorful cast of characters who will react to him in different ways, becoming either friends or foes. Conflicts will inevitably break out and various mysteries about his own nature and the world itself will be gradually revealed. That's it, this is the story. Not too complicated, at least on a purely structural level, when you take a step back and look at it with the benefit of hindsight. All in all, you could say it's something of a road trip setup. Naturally enough, most of the fun is in the ongoing journey and the anticipation for whatever comes next. The first half of the series does have a somewhat laidback and uneven pacing, to be sure, and the initial couple of episodes may seem especially awkward, but everything does build up over time. Once we're done with the various character introductions, the second half manages to raise the stakes and quickly escalates the action in several unexpected ways. In the end, the twists and turns of the storyline can provide plenty of room for excitement and entertainment, which may turn out to be more important than the ultimate destination. That isn't to say the scriptwriter doesn't care about the details. It may be difficult to believe at a glance, yet the writing has enough internal logic to hold itself together. Realism will remain absent, of course, although there's a considerable amount of early foreshadowing. That may be easy to miss or forget in the heat of the moment, but in retrospect seems almost too obvious at times. Even so, I was actually quite happy upon realizing just how well the big picture stands up. Again, you will not find any super profound meaning in this story, aside from some thematic commentary, and convenient power-ups are entirely fair game in a world fueled by conviction itself, in both the meta and the in-universe sense. Having said that, another essential element found within Nakashima's script is the comedic touch. Back Arrow is not a dark, heavy and pondering anime, but a rather lighthearted one that may slip into drama on occasion yet doesn't take itself too seriously overall. Not every joke will be equally funny for every viewer, especially given the fragmentation of audience tastes, yet I would say it was a key ingredient during my personal experience. If you can assume a similar stance, you'll likely get the most out of this series. CHARACTERS: 7/10 Surprisingly enough, Back Arrow himself turns out to be more of a catalyst or source of support for the rest of the cast than a typical anime protagonist at the end of the day. To be fair, Arrow does undergo a certain amount of characterization and changes, but it is correct to say his initial portrayal as the powerful hero who is an ignorant yet well-meaning person will remain relatively static until the second half. I believe that approach works for this type of story setup, personally speaking, yet it's not really a central focus point for the most part. As mentioned above, there is a sizable cast. Many of them have silly names that will make you smile. Predictably enough, not everyone in the series will get the same amount of attention in terms of development. I think most of the villagers never really progressed, with Elsha and Atlee being the honorable exceptions. Still, I would say several of the characters can be quite appealing in their own right, whether they're playing secondary or tertiary roles. I won't bring up every single one, but will mention a couple of them in more detail. For example, there's Shu. He is literally the smartest person in the show and that makes Shu a lot of fun to watch. You could call him a mastermind, on paper. Truthfully, I'd argue that he's more of a clever trickster. Or, if you will, you could call him an outright troll, in the best possible meaning of the term. Although there are opportunities for dramatic tension when it comes to his shaky relationship with the warriors Kai and Ren, perhaps Shu's most important role is as a vessel for comedy. His voice actor knows exactly how to play the part and it does wonders for the feel of the show. On a slightly more serious note, Shu's mentorship of Bit is simultaneously amusing on an extremely superficial level and yet also leads to some interesting places late into the story. Shu also has a pretty decent dynamic with Back Arrow, given his endless curiousity and desire to obtain knowledge of the unknown, but I ended up wishing to see more scenes between the two of them. Speaking of Bit, he's a good example of how you can take a foolish jerk mostly used for comedic relief and then make him into a better person by going through a character arc of his own. I wouldn't have cared for him at the start of the anime, but by the end he became quite likeable. If we had to name a rival character for Arrow, particularly when it comes to the many action scenes, then that would be Kai, the strongest warrior of Rekka....well, he would be the strongest with one notable exception. I'll get to that shortly. Let's be honest. Kai isn't very deep as an individual. He's usually angry at Arrow for obvious reasons and eventually also becomes angry at Shu, which is an occasional source of drama. Nonetheless, it's not an irrational type of anger. Kai does gradually develop as a character and, while the total change may not be great, you can come around to sympathize with him. It's hard to write an emotionally sincere review of Back Arrow without bringing up the Emperor of Rekka, Zetsu Daidan. If you're a fan of old-school martial arts action movies, or if you ever saw Mobile Fighter G Gundam, then you'll understand exactly why he's the coolest character in the show. I will not listen to any arguments to the contrary. Now, it's quite easy to initially dismiss Zetsu Daidan as just another dictator who is hungry for power, yet there is a thematically valid reason behind his actions and that makes him not only fun to watch on a visceral level but also more interesting than you'd think at first glance. And again, you can see him interact with the likes of Arrow and Kai, particularly during the second half of the storyline, in a way that elevates him as a character above his stereotypical archetype. Fine and Prax have the sort of relationship that is natural to see between a knight and her princess in anime. I'd say that duo was the most relevant around the mid-season point due to all the court intrigue involved, thus I can easily imagine some viewers may not enjoy the so-called Lutoh arc, but for me that was still an early highlight since they were more dynamic and represented a change of pace from the initial village setting. Specifically, Fine herself receives more characterization than you'd expect after looking at her character design. It's hard to address that without spoilers. For me, there were multiple surprises, even after the most obvious one was revealed to the viewer, and it was a very effective way to use the range of her voice actress. Finally, I would point out the series does take quite some time to properly establish a real antagonist for our heroes. Sure, we get to see a number of different enemies, rivals and foes, corresponding to each individual faction of this world, but there doesn't seem to be a true villain at first. This, like many other aspects of the story, changes for the better during the second half. The process of consolidating the cast into different sides gets going and, by the last arc, a particular character serves quite well as exactly the type of villain you simply love to hate. ART AND ANIMATION: 6/10 If there is one thing that makes Back Arrow look like an anime from about ten or twenty years ago, it's the visual design work involved. I would say my feelings towards this aspect of the series are going to lean positive, since I find the character designs to be quite distinctive for the most part and easy to identify from a distance, but they don't reflect what is normally considered to be "cool" in the year 2021. Stylistically, this is not what current anime fandom eats up. The mecha designs are quite wild and wacky in a manner that isn't orthodox yet, in a way, turned out to be refreshing. Not every one is a winner, surely, and I may not rush out to buy any of the merchandise. Yet once again, I think Muga and Gigan, among others including a few Briheights that show up later in the story, did their job well enough and they can look impressive during the best action sequences. To be clear, Studio VOLN doesn't have a lot of experience with making original anime and this may be their most ambitious project yet. I think they did a reasonable job, considering the circumstances and, in particular, I believe it is a very good thing for studios to grow and learn over time. You can't get better without even trying, can you? Even so, a more talented or at least more experienced crew of animators would have made the excitement come across in a more powerful way, visually speaking, and certain episodes make heavy use of stills and other animation tricks to hide their limited resources. This doesn't bother me too much, as someone who grew up watching many older TV anime from the 1980s that also resorted to cost-cutting measures, but it is a weak point that shows a clear area for improvement. SOUND: 8/10 This was an understated yet highly effective musical score. Yes, I think the two opening sequences will be the most memorable pieces of music from this anime even long after the fact, but I found several of the background tracks as well as the occasional insert songs to be pretty good. Not to mention that the sound director was fully aware that music shouldn't be constantly used every single moment. Certain scenes benefit from taking a step back and allowing silence to be used to great effect. I realize not every individual viewer feels this way, yet for me this is something that deserves praise. More importantly, the Japanese voice cast is absolutely stellar and brings the characters to life very well. ENJOYMENT: 9/10 Did I have a fun time every week? Hell yes, and this is what matters the most to me. Of course, every single opinion ever written, whether positive or negative, is going to be inherently subjective. Entertainment value cannot be measured objectively. I know all of that and so do you, kind reader. That is why I will be frank and say it: Back Arrow made me feel nostalgic for another era of anime and reminded me that there is more to this medium than simply following the most popular trends. If you've read this review, you should already know whether this series is for you. I do not criticize audiences for jumping on the bandwagons of the big and popular shows every season, but a part of me still wishes the anime community as a whole would be kinder and more open-minded to Back Arrow. Perhaps that's asking for too much, at the end of the day? Oh well. For me, it's the little show that struggled against all odds and, in a sense, that's enough to merit consideration. I felt that my personal expectations for Back Arrow were either met or surpassed in almost every area...except animation quality. This may not have been a successful experiment from a purely commercial and financial perspective, sadly, yet there is more to fictional media than sheer profit. Sometimes you just want to join a cast of characters on a crazy adventure and enjoy yourself. After everything is said and done, life, just like the journey, will continue to move on.
Reviewer’s Rating: 8
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Feb 17, 2019
Code Geass: Fukkatsu no Lelouch
(Anime)
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More than anything else, this is a movie for those who want to see the Code Geass cast again. As long as you have limited expectations and are willing to adapt to the changes in format, presentation and characterization, the movie may reward you with a good time
If you're not a fan, this will do little for you. If you want everything to be the same as before, results will be mixed. And, if you're a shipper, this movie might either warm your heart a little or send you into a spiral of depression and denial. Before analyzing the film, let’s take a step back. ... Was Code Geass a masterpiece or a train wreck? Perhaps both or something in between? Even at this late point, over ten years after the dramatic conclusion of Code Geass R2 that sent waves of emotion and memes across the Internet, the lasting popularity of the show among contemporary anime viewers is an unquestionable fact but history, which remains beyond all of our fleeting emotions, has still not reached a final verdict on its quality. For the sake of transparency, it must be pointed out that this new movie, Lelouch of the Resurrection, does not pretend to be a direct sequel to the Code Geass R2 television series. On the contrary, it has been publicly described by director Goro Taniguchi, writer Ichiro Okouchi and other Sunrise staff members as a canonically separate product existing within its own alternate universe. What does that mean? The story of Lelouch of the Resurrection is a parallel one. It is an alternate continuation, one which follows the three recent compilation movies that introduced a set of more or less significant changes to the original story. Keeping that in mind, this new movie presents a variation of the original Code Geass phenomenon. It may not be as structurally compromised as the second season, thankfully, but the film still seems likely to produce a high degree of controversy and polarization for completely distinct reasons. This time, the fans will have to decide whether they can accept that a shorter running time inevitably leads to reduced expectations of complexity. While never a profoundly sophisticated anime, there is going to be an objective limitation in narrative scope, introspection and thematic depth when the staff is asked to tell a new Code Geass story within no more than two hours. Can this movie be worth watching in the eyes of most Code Geass fans? I believe so, yes. There are more than enough moments of raw theatricality, improved cinematography, character highlights, thrilling mecha action sequences, impressive animation, excellent sound composition, nods to audience favorites and appeals to nostalgia within Lelouch of the Resurrection. Furthermore, the film does live up to its own subtitle, which is usually taken for granted yet always good to confirm. Whether each of us was looking forward to it or not, the truth is that Lelouch has come back. Nevertheless, Resurrection also presents both Lelouch and us with a quiet yet relevant challenge. Time has passed and the world has moved on. As such, the film provides somewhat different interpretations of beloved characters that may not necessarily react as we expected. In that sense, fans will have to question their own preconceived notions and memories of those familiar faces they had once embraced more than a decade ago and contrast them with the reality of these fictional individuals who are now living under a variety of different circumstances. STORY: 7/10 Above all, it is an essentially traditional premise, based on tracking the return of a legendary hero who will then bring the cast together for the sake of carrying out a rescue mission. That simple framework is fully compatible with the Code Geass brand. For the intended purpose of providing entertainment value, the story does a more than serviceable job and hits all the minimum notes. As events develop, initial success brings forth more complications and the enemy responds, which in turn requires the use of additional counters. Fanservice for all genders is present, perhaps not in excess by the standards of currently popular anime but also not at the level of scarcity seen in more distinguished productions. Code Geass always tries to have something for everyone, or at least that's the impression a lot of us have received. When considering the story of Lelouch of the Resurrection from a purely critical perspective though, it doesn't manage to consistently impress. Code Geass never did have strong writing form, so those expectations must already be held in check, but in a way the apparent simplification of the story beats actually makes for a more comfortable viewing. We are not following a particularly complicated web of intrigue, no, but witnessing an extra adventure within the status quo of a world that is mostly at peace as a direct result of Lelouch's final grand plan: the Zero Requiem. There is a fair degree of amusement though, in the knowledge that the titular protagonist is initially indisposed, so to speak, for a reasonable chunk of the movie. That allows other characters to take action early on. What's more, the story also gives us a few short opportunities to see the metaphysical side of Code Geass in a way that had not been possible during the original television broadcast, presumably due to the budget limitations of a seasonal production. As previously mentioned, the plot itself is rather straightforward with only a handful of genuine surprises. If you seek a barrage of plot twists, that is not exactly the case here. Overall, I would say there are no more than two of them. Both the running time and, likewise, the large cast size are harsh mistresses indeed. To be clear, key characterization sequences are still present yet often abbreviated. Small but arguably telling details in the dialogue or in the facial expressions of the characters may be missed if you happen to blink at the wrong time or lose concentration. A number of topics are only addressed in a brief, implicit or indirect manner, which may cause certain viewers to feel confused or annoyed. This being Code Geass, after all, means that most folks are going to look for a grand spectacle instead of nuance, but it is worth noting how exactly that translates to a movie format. In that respect, the underlying structure of this new film works much better when digested as a Code Geass anniversary project or cast reunion special, rather than taken as an absolutely necessary part of the storyline. I believe those who are prepared to cherish it as such may, at the end of the line, find most of the experience to be a welcome one. Others, sadly, will not be so lucky. Fortunately, I believe there are a number of secondary paths available for those who wish to alleviate such concerns with an open mind. While the tapestry is indeed far less complex than before, that doesn't mean there is no room for any thematic analysis. It may be obscured or simplified, at first glance, but the elements for that exercise are still there. For instance, the main antagonists do have less screen time and layers than others we have seen before. Yet, all the same, there is a point being made there. Why, pray tell, are the High Priestess and the King of this new enemy nation so...familiar to another pair of Code Geass siblings? Rather than qualifying this as nothing more than a lack of creativity, I believe it is entirely intentional and is purposely showing us the inherent risks of an excessive reliance on brotherly or sisterly love as motivation. See, amidst all the posturing and bombast, one question that Lelouch of the Resurrection does quietly ask is whether there is still room for a newly resurrected Lelouch in the world of Code Geass. Which is a topic that, to say the least, also has implications for the future of the property as a whole. Even when Lelouch comes back, to the joy of many characters and the audience, he is no longer a factor for rebellion and instability, at the global or strategic level, even though he may still bring fabulous chaos to the battlefield on the tactical level. One way or another, the world has moved on. This isn't a fight against, say, a remnant of Britannia or a personal vendetta against the royal family. That's all in the past, so it is natural to see the situation through other lens. To reiterate the above, I do not deny the finer points of this state of affairs are often left up to the viewer to piece together because they are only occasionally voiced by the cast in an explicit manner. That is a valid line of criticism. Yes, I absolutely wish this movie had been a full television season in order to slow down the proceedings and carefully portray the emotional conflict at hand in great detail, scene by scene, episode by episode. That is why this movie cannot possibly be entirely satisfactory in this regard. Nevertheless, at least some unspoken questions and unspoken answers can still be communicated to the audience with other forms of expression as well as in retrospect. I do not believe the Resurrection movie ignores every underlying issue at the back of the fan's mind, such as what Zero Requiem meant for the world and for Lelouch. We do not witness an extended debate or exposition dump about it, no, but that does not mean the characters have ignored the consequences of it. When the film is taken as a whole and carefully dissected, a few of the relevant implications can be reconstructed and brought into the light. In other words, my thematic reading is that at least a portion of the spirit of Zero Requiem has been disseminated throughout the film and fuels the initial reactions of various characters, particularly at the beginning of the movie as well as, to an extent, around the mid-point of the film and right at the end. The explicit absence of related terminology from the dialogue does not mean it doesn’t inform the situation. Perhaps more importantly, subject to the viewer's own interpretation of the movie narrative, I believe that Lelouch's choices at the conclusion of Resurrection implicitly yet undeniably represent, beyond any other immediate trigger or whimsical timing, an acceptable answer to what role he sees for himself in this new alternate version of Code Geass and what would be the best way to move forward. Whether my summarized arguments happen to convince you or not, the simple fact that I am able to make them in the first place should be a sign that no, you do not necessarily have to turn off your brain or view everything cynically in order to watch this movie. Not more than when it comes to discussing the original Code Geass, in all honesty, with its variable amounts of realism, insanity and campiness. I do have a warning for those who may wish to solve the once infamous mystery of the cart driver, red herring or not. They will soon find that, technically speaking, this new theatrical feature is not providing an answer to their question. Instead, Resurrection is simply showing us another route that the story of Code Geass could have taken, in an alternate world, but it is not meant to be interpreted as an obligatory sequel. The viewer is still free to believe the original series is complete and didn't lead to the events of Resurrection. As you can imagine, some have chosen to do just that. Quite sincerely, I do not hesitate to acknowledge that there is always the option of leaving this movie to the side and choosing to remember Code Geass, with all of its highs and lows, as having already ended back in the year 2008. The march of time may not have been stopped in real life, nor within the boundaries of the entirely fictional World of C, but time can still remain frozen inside the hearts of the select groups of viewers, if that is what they unquestionably prefer. CHARACTERS: 7/10 As previously stated, knowing there have been vocal fan reactions to Lelouch of the Resurrection, the portrayal of the main characters is a decisive factor in terms of determining how much of the movie can work for each individual person in the audience. Some will find any noticeable changes or unfulfilled expectations to be a source of intolerable inconsistency, while others can find ways to be at relative peace with the character portrayals found here. As I will now proceed to explain by focusing on the main characters of this motion picture, I happen to belong to this second group. Once Lelouch has been fully reintroduced to the audience, he displays several of the same characteristics as a magnificent bastard, albeit on a more limited scale, which is a welcome sight. What does qualify as worrying, to a degree, is that he might feel detached or even aloof at points. His reactions can come across as muted. Lelouch isn't entirely lacking in emotion and charisma, yet the man is no longer thirsty for revenge or redemption. That fire isn’t burning anymore. After all, the conclusion of the previous storyline had extinguished it in grand fashion. Quite bluntly, Lelouch has already gone through an entire character development arc in the original TV series as well as in the new compilation movies that adapted the same basic plotline and set the stage for this story. We are not here to see him face such challenges again, nor is the story about renegotiating the terms of the Zero Requiem. This new film is no more than an extended addendum, appendix or epilogue to the same, rather than an attempt to portray a second character arc of equal impact, length or complexity. Simply put, there is no time for rediscovering the wheel during this adventure. Similarly, there are very few among those Lelouch encounters during Resurrection who haven’t decided to move on and accept that the world is in fact a better place now thanks to him. This had been established before in previous Code Geass materials, including the last scenes of both the new compilations and the TV series. As things stand, Lelouch’s return is not a source of great controversy to the majority of the returning cast. There are doubts expressed, but only briefly. With a longer running time, rather than a single movie, it would have been interesting to explore that tension in greater detail rather than through a mere handful of objections. It might be obvious as a result of the title and what a number of fans used to speculate back in the day, but the movie makes this much quite explicit: Lelouch's own status is no longer that of a regular person. With that in mind, the fact he isn’t quite the same starts to make sense. Lelouch even dares to make an unusual choice during the final scenes of the movie in a manner that is rather telling. After all, this is not the same Lelouch who rebelled against Britannia. Too much has already happened since then and Lelouch is, in a way, merely witnessing the world that he once left behind. Therefore, the conclusion of the movie retroactively puts his new behavior in context by giving us the general idea of what could be Lelouch's remaining goals and, upon closer inspection, why he cannot go back to the ways of old. Curiously enough, this is a Lelouch who, based on certain fleeting lines of dialogue, is aware of the initial events of this movie even if he doesn't sit down to discuss them. Once again, the lack of a profound exploration of his humanity can be tangibly felt and is sure to alienate a portion of the public. Even so, I find that this change is both intentional and entirely warranted in the context of the new status quo. For me, it is neither irrational nor incompatible with the resulting fallout from his previous characterization. On that specific note, Suzaku Kururugi finds himself in quite a literal and figurative bind during this film. In this, he is also likely joined by several of his out-of-universe supporters. He was half of the emotional and melodramatic engine that drove the original Code Geass, as a result of his many contradictions that could often polarize the audience as well as make up part of his appeal, but at the end of the story he had reached a landmark state by becoming the heir to Zero. That was in fact, the outcome of his development as a character after the rollercoaster of Code Geass R2. This movie does, to a certain extent, depict how Suzaku is taking his new life. What is sure to cause controversy is the fact that Suzaku clearly isn’t the focus point. He has become merely an important member of the secondary cast, rather than returning to his earlier standing as would-be deuteragonist. After all, Lelouch of the Resurrection is neither a story of revolution against the system nor a conflict over using the right methods, so Suzaku can no longer be expected to serve as a foil to Lelouch. That chapter is, at least for the time being, closed. Even then, the staff did not forget the nature of their chemistry and interactions. Suzaku's conflicting emotional response upon meeting Lelouch would be senseless if he did not remember and value their mutual dynamic. But surely, even Suzaku himself is not the same man anymore. How could he possibly be? Suzaku begins this movie by being defeated, as shown in the official trailers and the plot synopsis that is publicly available. That would shake anyone's self-confidence, especially facing the prospect of meeting the original Zero again. Under those conditions, Suzaku has the right to consider if he was in fact the right person for the job. Nonetheless, I do not interpret this as an abandonment of duty on his part. I think it’s a very human reaction. While the sequence in question is longer than that dedicated to other reunions, which reflects that the staff recognizes his relevance, it is still not enough to exhaust all the questions left in the air. Still, we do get to see a proper glimpse of what worries Suzaku now and what he thinks about Lelouch after all this time. As much as I might desire a less abbreviated and much more elaborate handling of the subject matter, given its more prominent portrayal back in the original show, I am of the opinion that it is not impossible to reconcile and rationalize what has happened here. Conversely, the character known as C.C. ended up playing a more high profile role during Lelouch of the Resurrection than initially expected. For about half of the movie, it would not be an exaggeration to consider her as the co-protagonist. We are able to see a number of events from her perspective. That’s unusual for the property and, in my opinion, a refreshing change of pace. In a way, I almost wish the entire movie had chosen to keep that framing and take its time to fully explain the details, but I can still appreciate what we got. Moreover, C.C. also represents another dividing line between the characters as seen in the Lelouch of the Rebellion storyline and those who are present in this film. She is not in the same situation, so her interactions with the rest of the cast have changed. Undoubtedly, that is bound to trigger some disbelief, misunderstandings and disappointments. At the end of the original TV series, it would appear that, one way or another, C.C. had come to terms with her immortal life and was able to move on by living in the new world that Lelouch had created. Make of that what you will. However, that outcome was changed in both subtle and blatant ways due to the three recent compilation movies. In short, during the recap films C.C. was not satisfied by Lelouch’s last decision and felt that neither her own wish nor Lelouch’s promise to her had been fulfilled. That was directly expressed in the last scene of the final compilation. Therefore, without Lelouch, what would she do? As it turns out, this new story confirms C.C. was willing to take action for herself. Looking back, you could argue that C.C. was more comfortable around Lelouch than with any other character. I have always been of the belief that their relationship was beyond something purely romantic and closer to that of equal partners yet, by the same token, also included an element of seeking companionship. This, as expressed by C.C. herself in both the movie and some of its trailers, is undeniably a selfish action. But who are we to judge? Few things are more human than the search for happiness, an egotistical yet entirely natural objective that would be more relevant for an immortal who is tired of simply accumulating experiences. That is a legitimate outlook and, under the circumstances depicted, can in fact override other aspects of an individual’s personality. If we take a step back, there is an inherent contrast between selfishness, arguably represented by C.C. in this case, and selflessness, which is more closely symbolized by Lelouch’s decision at the end of the previous storyline. It is also, in my opinion, represented by the ultimate choice Lelouch makes here. Without going into the concrete details, even C.C. couldn’t predict what would happen. She made a gamble, or rather, two of them. One before the movie even started and, perhaps not entirely consciously, another at the end. As with other aspects of Lelouch of the Resurrection, I am of the subjective point of view that the movie provides us with enough building blocks to make reasonable inferences and deductions, but it doesn’t go ahead and spell out everything that is going on. Especially if you take into consideration what had happened beforehand in this alternate Code Geass universe, rather than only having the world of the TV series in mind. As a final note, a few words must be said about the rest of the characters. There are several quick cameos or smaller roles that will be appreciated by specific subsets of fans but, sadly, I am afraid the sheer size of the ensemble cast of Code Geass emphasizes the restrictions of the film format as well as the consequences of the type of story the staff has chosen to prioritize. Even so, I found a few interesting points. I am glad to report that Kallen does play an active part during the story, as a powerful fighter both inside and outside of her mecha, but the instances where she can display her own thoughts and emotions are mainly confined to the early half of the film. Nonetheless, it is worth highlighting that she too, makes note of the fact Lelouch has changed. Amusingly, we also see Kallen team up with Sayoko, the infamous ninja maid, for a while. Furthermore, I almost didn’t expect to see Cornelia again and yet here she is. Compared to the last time we saw her, I found this to be a return to Cornelia’s better days, both with respect to her personality as well as regarding her direct participation in the action. Her own scene with Lelouch is brief but, logically, one of the more emotionally charged. Shirley is alive in this alternate universe but does not play a huge role. Ultimately, I would say that the most disappointing scenario involved Nunnally, Lelouch’s younger sister, who once again became more of a plot device than anything else. To be fair, she does get at least one big emotional scene that was properly acted and interestingly set up, especially for those who may share a few elements of my previously sketched interpretation of the movie, but her presence was largely lacking. ART AND ANIMATION: 9/10 The character designs remain, as expected, a striking combination of CLAMP's original drafts and Takahiro Kimura's adaptations for the purpose of animation. If you were fine with all the noodle figures before or even found them pleasing to the eye, you are probably going to feel the same this time around. If not, then I can only wonder why you haven't run away in disgust or laughing like a maniac. Mechanical designs are another point of interest. The new mecha are, by and large, different enough from what we had seen before but not out of place. Variations on old models, such as the Guren and Lancelot in their latest versions, might be slightly more divisive. On that note, Lelouch of the Resurrection combines the use of 2D and 3D mecha assets when it comes to portraying the numerous robot battles. I wasn't a fan of this approach, on paper, yet in practice it turned out to be a nice way to appeal to nostalgia as well as open the door to another possible way of expression. Still, I would say Akito the Exiled remains ahead of the 3DCG game in strictly technical terms. The movie looks wonderful as a work of animation and storyboarding. Compared to the original TV series, the quality of background scenery and character motion has absolutely increased. Not universally, but enough to deserve genuine praise. This is what a Code Geass movie should, by all rights, look like. SOUND: 8/10 As expected, the sound department is back and mostly in good shape too. Kotaro Nakawaga brings his signature style of instrumental and orchestral composition as well as a small number of more bold tracks and a few familiar pieces which, I can say without hesitation, will contribute to make the majority of Code Geass fans feel right at home in terms of the audio presentation. Those familiar with ALI PROJECT might want to know there is one of their songs on the soundtrack. I've always found them to be an acquired taste, so I won't really comment on their effectiveness. Unfortunately, FLOW did not participate. Besides that, the OP and ED themes are entirely appropriate for the purposes of the film, particularly if you can look up the translated lyrics and then put them in context. ENJOYMENT: 8/10 For those who would say the secret to enjoying Code Geass is to sit back and grab a bag of popcorn, this movie definitely delivers. It has that same type of blockbuster appeal. I don't deny that form of enjoyment. It's always been a part of my experience but I am more inclined to engage in a combination of stances. Don't take seriously what doesn't need to be, because one has to just go with the flow of certain scenes, but be prepared to analyze and think about whatever can be dissected. Lelouch of the Resurrection didn't provide me with as much ammunition as the original TV show, so I had to recalibrate my expectations. This wasn't possible right after watching the movie just once, which was mostly a visceral experience, so I had to go back and rewatch as well as look up more information and make up my mind about whether the overall package was deserving of my investment. In the end, I think I've come up with a good method. Am I asking everyone to do that? No, just charting out a possible path for interpretation. If you want to know the temperature in the room, so to speak, the movie has been mostly well-received in Japan. I suspect that's because most fans are willing to play ball with the idea of the film being a celebration of Code Geass that, while perhaps gratuitous and unnecessary, does have some of the energy and feel of the original. Whether it lacks the soul or not, of course, is an entirely different matter. Almost no popular work of fiction is made entirely out of love for the art form. Did Code Geass have a soul to lose? Some would immediately say no. I'd beg to differ, but my short answer is that it is in a transitional state and the future of the property will be what gives us the last word on that. There are, however, various segments of the fan population who have either ignored or sworn off Lelouch of the Resurrection. Let them do so in peace. You can please some people all of the time, but you can only please all people some of the time. There is no escaping that. Code Geass has been a very good example of what happens when such a rule is taken to the extremes and Lelouch of the Resurrection is once again proving that.
Reviewer’s Rating: 8
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Jan 18, 2019 Recommended
Can delusional protagonists ever serve an interesting purpose?
How much does absolute originality determine the merits of fiction? Or why, indeed, would you want to give Revisions a chance? In essence, I believe this series can be reasonably entertaining as the more or less straightforward sci-fi tale of five teenagers suddenly being transported into a barren future, where the entire population of Shibuya also needs to survive and adapt to these new conditions. Likewise, the show focuses on a fairly interesting thematic exploration about the concept of destiny within a context where time travel is possible. All of this is portrayed in a rather succinct manner without ... much room for filler or distractions. If you can manage to latch onto either of these main aspects, you might want to check out Revisions. Having said that...there's a lot more to consider about the show in terms of its strengths and weaknesses in order to explain why, at least based on my experience, the series has enough value to compensate for any flaws. STORY: 7/10 On an introductory level, what will probably make or break the story of Revisions in the eyes of many viewers is the protagonist: Daisuke Dojima. Logically enough, the prospect of following a main character with a delusional and overbearing personality can often be a drag. I do not blame any individual viewers for finding this to be an issue, particularly early on. Be that as it may, the story quickly establishes a very specific reason why Daisuke holds such questionable beliefs about heroism: a childhood prediction about his destiny. It's not an entirely senseless ideal. And yet, right from the start, the show also signals to the audience that Daisuke's behavior is a problem in reality. Adults and teenagers alike hold him in greater or lesser degrees of contempt. Revisions is not interested in merely patting this young man on the back and giving him a free pass. To put it another way, instead of portraying the protagonist's so-called "hero syndrome" in isolation, much of the story deals with how his delusional behavior affects other people and the world around him. In other words, there is plenty of skepticism built into the narrative regarding the true worth and meaning of the "destiny" that motivates Daisuke. Which, from my point of view, helped keep me invested in continuing to watch even when the protagonist was not behaving in a respectful or gentle manner. In fact, I'd estimate over half of the storyline reflects an implicitly or explicitly cynical perspective towards his heroic ambitions and, more to the point, a harsh view of the original predictions behind it. What's ultimately more important for the writers of the show, in the long run, is not exactly what Daisuke thinks about himself as opposed to the reasons why he believed such a thing and their implications. This might seem like a subtle distinction, at a glance, but I'd argue it is a relevant one. Without going into any detailed spoilers, the time-related angle ends up becoming increasingly relevant in order to illustrate this theme as the story develops. By the end of the narrative, the prediction that fueled Daisuke's destiny doesn't have quite the same meaning anymore. Furthermore, it also plays a role in determining the character development of certain additional individuals. Thus, while Revisions has been described as yet another work about heroism, which is an entirely understandable reaction, I do believe that emphasizing this too much would be a case of missing the forest for the trees. On that note, this brings me to the setting of Revisions. Most of the series takes place within the limits of Shibuya, in addition to occasional trips to the surrounding future wasteland. Inside this unfamiliar environment, the narrative briefly addresses both the changing reactions of the general population as well as the internal power struggles between the remaining government officials. In retrospect, I would argue the show was more interested in portraying the tensions between the youth and the ensuing leadership conflicts instead of fully exploring the former aspect, which was reflected in the allocation of running time. The direct ideological contrast between Chief Kuroiwa and Mayor Muta as rival authority figures might be essentially by the book, so to speak, but it was sufficient as a secondary framing device without replacing the core of the narrative. Once that element was no longer necessary, it faded into the background in an appropriate manner. Naturally, we did get to see various scenes depicting a mix of chaos, impatience, improvisation, mood swings and tensions among the common people. Mind you, I do get the impression that this sort of process could have been handled more smoothly with additional episodes. As things stand, it's more lean and to the point rather than truly comprehensive. At times, it might feel like certain factions among the citizens are behaving in an irrational manner, but I would argue that is an ugly yet inevitable side of humanity. Contrary to what some of us might hope for, communities living in desperate times are susceptible to disorganization, gullibility and selfishness. You can find plenty of reasons for such responses. Therefore, those scenes are unfortunately brief yet still qualify as realistically written. Moving on to the role played by the String Puppets, a term referring to the power suits that provide the mecha action content of Revisions...they're primarily a means to an end. Decent enough for the purposes of entertainment. As is common in the vast majority of mecha anime, this implies we will see teenagers piloting robots in order to fight, but I would argue this show did at least mention why that would be possible. One part of the explanation is purely technological in nature (their interface and the assistance provided by artificial intelligence) and, as confirmed a few episodes later, the other is connected to the time travel factor. To be sure, I will readily admit that, on a structural level, Revisions is not aiming for raw originality. Of course, tales of teens fighting monsters or surviving during a crisis are not exactly new premises. Time travel has been a sci-fi storytelling staple for decades too. It would also be quite easy to make a list of seemingly major revelations around the halfway mark that may legitimately surprise the cast of characters but, at the same time, will surely seem commonplace in the eyes of any sufficiently experienced science fiction fan. My own stance is that science fiction premises can only aspire to create the illusion, as opposed to the reality, of originality at this point in history. For example, think about some of your favorite sci-fi anime or television series from recent years. There's a very big chance that such works are either part of a pre-existing property or, failing that, effectively based on adapting or re-interpreting a story that has already been told before. Even so...I would say the last couple of episodes of Revisions did employ one or two creative twists, thus arguably containing a more or less unexpected combination of elements when compared to the rest of the show. Mind you, I will acknowledge that these final events will not necessarily be to everyone's taste either. It seems easy enough to lose track of certain details, particularly if you have forgotten (or skipped) some tidbits of information that were only briefly referenced before. Was there enough foreshadowing in order to properly connect the dots? I would say so, strictly speaking, but perhaps just barely in certain areas. Suffice to say that, while I do not give the narrative the highest possible marks and the writing could be more blatant than necessary during certain dramatic beats, I feel the story generally wrapped up the main themes in a satisfactory manner and left the principal characters in an alright state. There is enough room left at the end for a sequel or spin-off, which I wouldn't be opposed to watching, but until that happens...the epilogue appears to be a purely symbolic gesture. For that matter, it might also be used as a plot point in the upcoming mobile game tie-in. Who can say? As a final note....following in the footsteps of most fictional stories involving time travel, a series like Revisions cannot escape the emergence of potential paradoxes, especially when curious viewers attempt to reconstruct the entire temporal landscape. We do receive useful explanations about quantum brains and time manipulation mechanics, which are arbitrary by definition but should cover the main questions. However, they are not totally comprehensive. In retrospect, we didn't get to witness everything firsthand and so would need to make various extrapolations based on indirect data. Frankly, I do not believe this is the most important part of the experience, but those who are usually troubled by such concerns might want to relax. CHARACTERS: 6/10 While the cast of Revisions was suitable for the purposes of telling its storyline, there is a valid line of criticism regarding their moderate to limited depth. In short, much of the characterization remains within standard anime parameters and only a few members of the ensemble crew were significantly developed. That said, I would also say they were usually properly written. Just not in the most granular or decompressed manner. Therefore, as far as anime teenagers are concerned, I would say these are not particularly offending examples. We have already discussed "our hero" before, the annoying Daisuke Dojima. It is fair to say that many will find him absolutely intolerable but, as explained above, I believe his annoying personality feeds into a valid storytelling purpose. Truthfully, the reactions he generates among the rest of the cast also provide entertaining dynamics over time. Despite the expected expressions of dislike...I feel there is also the potential for a certain amount of relatability, especially among viewers who may have been at least slightly delusional during their childhood and thus recognize parts of Daisuke's overly intense personality. While he shrugs off most critics at first, certain key challenges do have a cumulative impact on Daisuke. Rather than becoming another person...one could argue that, by the end of the story, his worldview was successfully refocused. Milo, the attractive young woman who set the original prediction in motion, remains calm and professional during the majority of the narrative. She's in the awkward role of needing to provide assistance to the Shibuya defenders against the Revisions yet still lacks enough power and is restricted by her duties. As much as she is connected to the time travel plotline, she may not be fully aware of the consequences of her actions or omissions. Milo tends to be more of an observer and a mentor, in practice, but she gradually starts to show a more genuine interest in the fate of these teenagers and her personality does shift as a result. Generally, this all works out. Having said this, I think she's the one character who would get the most out of any potential sequel to Revisions. What little we learned of Milo's past was interesting enough, but I had expected to see more interactions with her peers. The Steiner twins, Gai and Lu, were close enough to a state of normalcy. They were usually skeptical of Daisuke's impulsive behavior and were generally dependable members of the Shibuya Defense team. Not especially colorful, either way, but they are effective as representatives of how rational people would (ideally) think and act under the circumstances. They do show a wider emotional range than initially expected, rather than simply copying each other, but they are not at the center of any great drama. Keisaku mostly serves a supporting role as the protagonist's best friend with a slightly self-deprecating attitude and occasional mediator between Daisuke and other individuals, but they did find ways to connect him to the larger story. One was fairly dramatic yet relatively predictable and the other was actually more interesting. I'd consider it as slightly surprising or even amusing. Mari, the shy would-be love interest, gets a couple of brief emotional sequences and deals with a certain ethical dilemma that viewers will either sympathize with or find to be too stereotypical. At the very least, I was content with the resolution of that issue. I wish they had figured out how to provide her with a more elaborate sub-plot, but I imagine it wasn't easy to do so with only 12 episodes. Chief Kuroiwa and Mikio Dojima, Daisuke's uncle, were both decently useful as adults with a comparatively solid amount of logic and common sense. As you can imagine, they also happen to confront Daisuke in the process and are skeptical of his actions. While their total amount of screen time was limited, albeit for different reasons in each case, they were still necessary as sources of balance and directly intervened in a few of the major sequences. Overall, I wanted to see more of them. On the antagonist side, Nicholas was arguably the single best character and had the most distinct personality among the Revisions organization. It sounds very strange to say that about someone who looks like a stuffed dog mascot, but it's true! Honestly, the 3D animation worked pretty well with his cartoony design and expressions. His use of English (or, to be accurate, Engrish) made for good amusement value too. Besides his whimsical attitude, Nicholas brought complications and complexity to the story. Which will likely be either liked or disliked by the audience, but I was clearly in favor of the results. Chiharu and Mukyu, the other two named members of the Revisions faction, were more memorable (or infamous) due to their over-the-top designs than for anything else. Out of everyone else in this show, they looked the most like utterly stereotypical anime characters: a bunny girl and a maid. Yes, that all sounds weird and dissonant in this context. On the one hand, those are openly stated to be digital devices for remote communication and not physical bodies. I guess it might even be partially meant as a blatant in-joke: in the far future, someone could have reached the odd conclusion that anime cosplay would be better received than formal wear during negotiation attempts with 20th century Japanese people. On the other hand, it is still an arbitrary decision that, at least in Chiharu's case, also appears to be little more than an excuse to have a small number of fanservice shots. Thankfully, that doesn't last too long. Mayor Muta, ostensibly the top authority figure of Shibuya, is a spineless individual that exists to show the darker sides of government during a crisis. In a few words, he prefers to work in his own interest and will take the easy way out. Without input from an external structure and subjected to public pressure, Muta can be either foolish or dangerous. Which makes for a viable form of contrast with Chief Kuroiwa's more inclusive leadership style. I enjoyed seeing their discussions but, in the end, that doesn't really manage to make Muta a strong character. SOUND: 6.5/10 For the record, I am not an expert on musical criticism and prefer to avoid the use of any complicated terminology. As far as I can tell, the soundtrack of Revisions was neither exceptional nor an obstacle to my enjoyment. It seemed to supplement the action without any particular misfires. In short, standard stuff. I can also point out, however, that the opening theme was quite catchy and wasn't clashing with the animated sequence. Not much of a surprise, but the voice performances were all professional and fitting for the respective characters. ART AND ANIMATION: 7/10 At long last, we have come upon the real elephant left in the room! Revisions was primarily animated through the use of 3D computer graphics. This single decision, I'd strongly suspect, will remain a handicap for the series even based on principle alone. While there have been rare exceptions that avoid the rule, it's unusual for 3D anime to find much of an audience among the most outspoken fans of traditional animation techniques. Truth be told, I can understand this. I prefer 2D animation myself and, yes, it's also the case that 3D movement can be either disorienting or just plain confusing to watch. Keeping that in mind...I think the staff of Revisions has made a good attempt to implement 3D animation in a technically superior manner, compared to similar contemporary anime, but it also slips up from time to time. In other words, I'd label the results as above average 3DCG, rather than setting a high water mark. Sadly, this is not equal to Land of the Lustrous. How could it be? Then again, I don't think that was a strict obligation. Multiple anime studios have worked on improving their 3D processes over the years. Outcomes vary and so do audience preferences on the subject. As someone who has been watching anime for many years, this is still a big step forward compared to what was happening less than a decade ago. I've had some issues with jarring 3D animation in the past that were either solved or at least minimized this time around. Thanks to the relatively simple character designs for most of the cast in Revisions, the facial expressions and body language are often easier to accept than what you'd expect from a 3DCG anime made for TV broadcasting and/or Netflix streaming. During certain episodes, or long portions of them, I forgot that this was supposed to be a 3D anime and completely bought into the illusion. In fact, the 2D background art seemed to mesh rather well with the models too. That's a clear victory in my book. Unfortunately, not every single scene was successful at this. I can only imagine that certain sequences would have required extra manual modifications and they simply weren't done. Similarly, the framerate seemed to vary and it stood out as inconsistent at times. On the bright side, I think Nicholas looked impressive in almost every scene. Furthermore, the action sequences with the String Puppets benefit from the use of 3D animation in order to arrange some good choreography. It probably wouldn't be too easy to animate these unorthodox power suits with 2D either. This isn't exactly a show with a high dose of mecha action, but what was there seemed to be competently handled on the technical front. How about the lip-syncing then? By and large, even purely traditionally animated TV productions aren't really paying much attention to that in Japan. In other words, the anime industry is bad at this and many studios don't care. Compare the English language dubs to the original Japanese voice acting. Most of the time, you'll notice the dub directors and actors probably made more of a real effort to match the lip flaps than the VA crew in Japan. Given that underlying reality, I didn't notice anything out of the ordinary here. Curiously enough, not every single character was a 3D model. It's worth addressing that there are a few flashback sequences featuring children in 2D animation. Odd, in retrospect, but I feel the transitions worked in the moment. ENJOYMENT: 8/10 Personally speaking, I had a reasonably fun and enjoyable time watching Revisions. In all honestly, I can tell several readers are probably taking a quick glance at this review right after looking at the lukewarm reception this anime has received thus far. Some will be confused by this contrast. In theory, roughly 3 out of every 10 viewers seem to be unhappy with the show. That's quite understandable. It is not my task to convince everyone to like the series, but simply to present a case for further consideration. Our media experiences will always be subjective. You've probably heard that before. Suffice to say that the distribution of different tastes, interests and pet-peeves will never stop coloring how we react to a story and its characters. Any analysis, positive or negative, is affected by this. Especially when, as in the case of Revisions, we are presented with a protagonist who isn't easy to like. As matter of fact, Daisuke Dojima is much easier to hate. Or, perhaps worse, he might be plain boring. If nothing else, I have made an effort to expand on why that wasn't the case for me. Speaking to my own tastes, I've found this series especially interesting as a fan of Infinite Ryvius, another sci-fi show made by the same director (Goro Taniguchi). Specifics aside, they are both shows that feature a group of annoying teenagers making bad choices in the middle of a crisis. I tend to find a certain fascination in the act of witnessing that sort of social conflictivity. Note that Revisions has a smaller-scale, feels relatively fast paced and doesn't have a lot of room to meander or dig deep inside certain topics, which is both a blessing and a curse, while Ryvius had the opportunity to explore a slower and more gradual progression. Overall, it is fair to say Revisions is not brimming with great narrative freshness. Science fiction stories have used one or more of these ideas before. Nevertheless, I think this show is acceptable in terms of general technical execution and did present a slightly more unusual mix of factors than what I had originally expected. There is also something to be said about appealing to fans of a certain theme and making a show focusing on that, even if it happens to be less popular than the alternative. Rather than expecting a truly novel masterpiece that will suddenly open my eyes to a new reality of storytelling, I believe this is good enough as an effective distraction. If this particular mix of elements appeals to you, then the experience might be worthwhile after all. If not, then you can and probably should move on to a more exceptional work. Take your time and think about it. OVERALL: 7.5 /10
Reviewer’s Rating: 8
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Aug 2, 2013
Kakumeiki Valvrave
(Anime)
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Mixed Feelings
How will Kakumeiki Valvrave be remembered? That remains to be seen, but the show is at least on the way to achieving its intended outcome of providing entertainment at any cost.
As the first collaboration between Aniplex and the Sunrise animation studio, Valvrave is a series that relies on spectacle as the main source of its inherent value. This is a show where going beyond the limits of reasonable storytelling is the entire point, not accidental or unintentional. While the series may not stand up to highly critical scrutiny, it is self-aware of its own preposterous nature and feeds on incredulous reactions. Of course, this sort of ... shameless approach can easily backfire on the creators. The precarious artificiality of its construction carries the risk of making the preponderance of absurd or funny elements too much for the average viewer to bear, but for the time being I feel Valvrave seems to be worth at least one watch, as long as the spectator is willing to both completely relax and dismiss any expectations of common sense or virtue being the guiding principles of the viewing experience. Story: It is difficult to avoid noticing that past Sunrise projects such as Gundam SEED, the original Mobile Suit Gundam, Code Geass or Infinite Ryvius, among other shows, are all being used as partial sources of real or perceived inspiration and imitation here. Within that general context, the basic premise of Valvrave seems fairly predictable at first glance and surely won't earn a lot of points for originality. However, even the most obvious comparisons can be misleading. Many of those similarities fulfill the role of giving the audience a false sense of security. In this case, the Valvrave equation also includes a few surprises which were conspicuously missing from the initial pre-airing promotional videos and advertisements. For instance, the first episode felt like a slightly reworked interpretation of the typical Gundam premiere, when a boy named Haruto from Module 77 accidentally finds the Valvrave mecha and defeats an invading Dorssian force, but then the creators pull out the rug below our feet with a last minute plot twist which nobody in their right mind could possibly see coming. The ultimate ramifications of this supernatural turn haven't been fully explored so far, but it does make for several entertaining and amusing scenarios. Is this as juvenile as it sounds? Definitely, considering that a more serious show would try to slow down or retroactively justify itself for a considerable amount of time after taking such a sudden left turn. Instead, Valvrave prefers to keep going. This production usually only pays little or no lip service to such concerns before quickly preparing and dropping the next crazy twist. By design, excess and exaggeration are the norm. The character of L-elf, whose over-the-top plans are rarely explained and whose ridiculously impossible predictions are openly called "prophecies" by both himself and those around him, actually serves to highlight this fact. Even the mecha action, while also competent in the traditional sense, has a rather whimsical edge and includes several goofy elements. To the writer's credit, somehow the series does occasionally get to have it both ways. Certain scenes manage to break away from sheer ridiculousness by engaging in perfunctory foreshadowing for intriguing future events or at least adequately lining up a few of the pins before taking them down again. Nevertheless, all too often the show is just as willing to make fun of its own attempts at drama or seriousness, even at the expense of the poor characters themselves. Where other series would try to desperately hide their silliness at the first opportunity and concentrate on making the dramatics always feel genuine, generally Valvrave can't play itself straight for too long without otherwise shifting the tone and even winking at the audience from time to time, especially given the bizarre behavior of a certain AI entity that seems eager to slightly break the fourth wall. Unfortunately, in light of a controversial event that happens towards the end of the broadcast, I imagine that good taste must have been in short supply in the staff room. Which isn't the only problem: the basic structure of the season isn't particularly innovative as a whole, in spite of all these entertaining maneuvers. After an extended introductory arc, the second half treats us to several episodes where the main focus fleetingly goes from one new Valvrave pilot to the next and most of the enemy forces prove to be at best creatively incompetent during their weekly attacks on the students. The formula seemed to be gradually getting close to exhaustion, before the season finale spiced things up again with a technically interesting yet not entirely satisfactory spin on the current course of events. Where we go from there is anyone's guess. Art and Animation: By the usual standards of modern Japanese animation for non-theatrical productions, the series regularly manages to look decent with only a modest amount of obvious budget shortcuts. The color palette tends to find a happy medium between darkness and light that works well with the material. The character designs of the various students and Dorssians aren't particularly original on paper yet still manage to come across as very distinct in practice, and the 3D computer graphics used for the various mecha and space action scenes are generally above average. Sound: The music composed by Akira Senju is surprisingly effective, managing to properly set the varying moods of this story and successfully accompany the major battle sequences without any glaring issues. In addition, the opening by Nana Mizuki and T.M.Revolution as well as the two ending themes by angela and ELISA are good performances by popular industry artists. There's no accounting for musical preferences, but I feel this particular technical aspect of the show's production is perhaps its single strongest point. Character: The protagonist, Haruto, is currently the weakest link among an admittedly typical cast of characters. He is another peace-loving boy whose life changes after jumping into a giant robot and who often finds himself being the center of attention against his wishes. That said, one notable element which saves Haruto from being as annoying as other similar or worse protagonists is his considerable willingness to fight, in spite of his personal worries. Curiously, after the first episode he rarely ever hesitates and is quite prepared to kill in battle when necessary. There's really only one scene where he experienced actual angst and, while it seems hard to truly sympathize with him, at the very least I didn't find Haruto unbearable. Just mostly boring and in need of development. Frankly, the external circumstances surrounding Haruto sound more interesting than the guy himself. Surprisingly enough, the series benefits from unexpectedly making a couple of the other regulars who interact with him either mildly compelling or simply entertaining enough to pick up the slack. L-elf may lack the usual charisma of other mastermind-type characters and his personal background has only been partially addressed, but he still provides a clear contrast to Haruto's inherently kind nature and even has an oddly socially handicapped yet still amusing personality despite his cold exterior. Perhaps more importantly for a series of this nature, he is a frequent source of unrealistic actions that can be appreciated for their audacity if you do not demand any sort of credible explanations for them. Two characters which are especially divisive are Shoko and Saki. They're both very flawed individuals who can attract or repel due to their childish attitudes and impulsiveness. In fact, that's part of why I'd dare to argue they also displayed a slightly more nuanced form of characterization than what was obvious at first, in addition to the various exaggerated shenanigans they directly carried out. Shoko isn't too smart and comes up with ridiculous ideas that somehow work even if other characters explicitly point out their silliness, which is good for more than a few laughs and a couple of face-palms, but in truth she's more of an idealistic leader than merely a buffoon. Saki combines a cynical edge, a selfish attention-seeking attitude and a manipulative yet honest loneliness, while also seemingly destined to play a larger role in the future. Of course, you could simply call them a "good girl" and a "bad girl" at heart, period, which is undeniably true. Still, even if neither of them may fully escape from their constituent archetypes, since the show isn't aiming high enough to accomplish anything truly new, the fact is they contributed to making Valvrave more enjoyable than its own protagonist did. Well, at least for those who didn't react negatively to either of them. The rest of the cast has its ups and downs, since the other Valvrave pilots received some fleeting time in the spotlight yet the main villains usually lacked even that much until the last episode, but as a whole they can be considered underdeveloped and thus not worth discussing in further detail for now. Frankly, Valvrave could be rightfully accused of having several unnecessary secondary or tertiary characters who competed for screen time with the main cast and with each other. They couldn't all be properly portrayed -or, for that matter, even used as effective sources of superficial entertainment- within twelve episodes. Will another set be enough to address this? Probably not. Enjoyment: When you go past the previous considerations, it all comes down to the fact that Valvrave is often just a lot of dumb fun. You might not always care for the isolated moments of drama and melodrama, or you might even find how the series deals with certain issues to be morally or intellectually questionable, but I'd be lying if I said it wasn't entertaining to see what crazy twist or unexpectedly interesting event happens from week to week, or what new mecha action scene will come next, or how the creators will explicitly or implicitly highlight the absurdity of a major or minor development. In the end, for me it's clear this show knows it is an artificial, messy construct made with the intention of entertaining its audience through bold spectacle and twisted humor that borders on the farcical. I can't consider it particularly "good" in a general sense, but I also won't call it truly "bad" at this point in time. Even at the expense of the entire edifice potentially crashing down once and for all next season, I enjoyed watching the first season of Valvrave.
Reviewer’s Rating: 6
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Jan 7, 2009 Recommended
Baccano! is one of those anime titles that seems a little confusing on the surface, mostly thanks to the overwhelming power of first impressions. That much is something I can definitely understand.
The final result, however, is an enjoyable set of interconnected stories where great characterization shines through the virtues of a solid script. Story: The plot combines adventure, comedy, mystery, fantasy, action and horror in a very attractive package. Based on a light novel series, the American 1930s and a particular train serve as the primary backdrop for a narrative that manages to be both self-aware of its own nature and surprisingly cohesive, despite the ... intimidating size of its cast and what first appears to be something of a chronological mess. Many initially unrelated events have either important or, at least, incidental connections, with alternatively humorous and tragic consequences. The antics of Isaac and Miria are consistently funny, providing a welcome change of pace from the world surrounding them, which can be dramatic and even explicitly violent without making the contrast seem uneven. Clearly, there was a lot of thought put into the original script but the animated adaptation's use of time is not simply a gimmick. I even believe that quite a few in-jokes and revelations are, believe it or not, enhanced by this creative decision. It would be very easy for this series to fall apart but there is definitely a method to the madness. When the tale finally ends, the viewer will likely walk away quite satisfied. Baccano! has plenty of memorable scenes and subplots, most of which are resolved in a very satisfying fashion. Those that aren't remain open as doors to further adventures which I'd certainly like to see. Animation: Good animation is the norm with a few minor mistakes here and there. The character designs have a nice style and succeed in making most of the cast easily identifiable, one way or another, but it may take some time to tell certain characters apart whenever the quality briefly drops. Sound: A strong set of opening and ending songs, including the animated sequences themselves, does a lot to set the tone. The rest of the Baccano! soundtrack is also quite moody and even refreshing, essentially representing a good range of emotions across the board. Probably one of my favorites. Character: Much of the beauty of Baccano! lies in its characters, who aren't just very colorful but also join together to weave a competent narrative that gradually reveals itself to the viewer. From comedic thieves to charismatic madmen to members of the mafia and dark conspirators, you wouldn't be exaggerating too much by stating that this series has it all. Aside from Isaac and Miria, who are just a lot of fun to watch, I must say that Claire Stanfield is easily my personal choice for a highlight, taking the entire series into consideration and not just any particular arc, although almost any other pick would be equally justified. This is truly an ensemble cast and perhaps one of the few cases in which its sheer size never really makes the whole building stumble. Each character has a convincing personality and their respective development arcs never really drag out too long. Screen time isn't a problem. I would still say that a couple of individuals benefit from being fleshed out during the DVD OVAs, but even in those cases the main TV series has already managed to make them interesting. Enjoyment: While it took me a long time to sit down and watch this series, the experience was almost entirely rewarding and Baccano! has become one of my current favorites. I cannot honestly speak for its replay value just yet, but during my first viewing it was practically impossible to stop. The quality of its characters and storytelling was one reason, but there were a number of exciting cliffhangers, resolved sooner or later though not always immediately, which came at just the right moments. It is certainly a real shame that the rest of the novels haven't received animated adaptations because more Baccano! would be a pleasant surprise, just like the original was.
Reviewer’s Rating: 9
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Oct 21, 2008 Recommended
Code Geass R2 has provoked conflicting reactions among the fan base, just like the original series did. Viewers still loved or hated it outright, even as many others laughed, and once again it's not hard to see why.
I think R2 was a disappointment but not without redeeming qualities. It is an enjoyable sequel that could have used more foresight and additional planning. Maybe a little less ambition, a smaller cast of characters or better pacing would have been very welcome improvements. In the end, I appreciated Code Geass as a whole in spite of its flaws. Not the best show out there, but then again ... it doesn't need to be. Story: After having to go through strangely familiar territory, Code Geass R2 finally reaches a grander scale. What began as a local rebellion ends up having larger repercussions, both directly and indirectly. And that is just the big picture. The protagonist, Lelouch, continues to keep everything together here. What remains at the core of Code Geass and its themes is his development as a character. But it is, admittedly, the kind of development that tends to take him in a far more destructive than constructive direction and this can be hard to watch, let alone swallow. Nevertheless, I believe the main plot was brought to a rather fitting, if not absolutely satisfying, conclusion as far as those terms are concerned. Unfortunately, this central focus on Lelouch was a little too dominant in the long run, at the expense of other elements. We are taken through many more twists and turns this time around, which is both good and bad. From the exciting to the absolutely ridiculous, from the dramatic to the cheap, most are at least amusing. Yet there are clear pacing problems, especially towards the second half of R2, and that did affect the overall flow. I never felt really lost, but certain events were dealt with too quickly, including one climatic confrontation in particular. In retrospect, several early episodes were ultimately unnecessary and wasted valuable screen time that later developments could have used. As things stand, the show is rather messy and certain ideas received uneven amounts of attention. The writing and direction are competent, at heart, but evidently suffer from trying to do too much, too quickly and thus may have shot themselves in the foot more than once. The first half of the series has increased fanservice, which can be occasionally distracting. Some mysteries were resolved but, unfortunately, a few unanswered questions of varying importance were also left behind and this can be annoying if not actually crippling. The show's mecha action is acceptable but lost some of its appeal due to accelerated technological progression. It's still not as much of a factor here as it would be in other series though, from my point of view, since it isn't really meant to be the main focus. Finally, the last story arc seemed out of place at first and its very existence remains quite controversial in light of other possibilities. The ending itself, on the other hand, benefits from markedly increased attention to detail by the production staff and packs a strong emotional and thematic punch, even if the epilogue that followed it was probably too short. The final episode of Code Geass R2 gives the viewer the ability to make up his or her own mind, which is a double-edged sword. I can say the resolution worked for me, but there are different opinions. Animation: Production values are still well above the average. The animation was generally alright and, in specific places, even great. Some background frames did lack quality, but not to a bothersome extent unless you know where to look. Even then, it must be pointed out that some of the worst sequences were reanimated or redrawn in time for the DVD release. The original character designs by CLAMP continue to be fairly effective and the mechanical side of things was also quite competent overall. Sound: Code Geass R2 had good music and, for the most part, it was used well within the show itself. Some pieces are bombastic, no doubt, as one would probably expect from a tale so intrinsically linked to having a flair for the dramatic. Several tracks from the first season make a comeback here, but there is plenty of new material. The insert songs, in particular, were very nice even if a little more elusive. The opening and ending themes are a little less memorable but certainly not bad. With one exception, maybe, as opinions may easily vary here. Character: Lelouch is what drives Code Geass and he was still fairly successful in this regard as long as you can tolerate the story's overall direction, but he wouldn't be nearly as interesting without the ongoing dynamic between him and Suzaku, who once again played the most important supporting role. Kallen and C.C. got some attention and closure in their own right when they were given enough screen time, even if certain expectations were not met. Overall, these four characters received some development, though not without problems here and there. I suppose Rolo, Shirley and Nunnally also had their moments too, all things considered, but just barely. That sounds fine, so what lowered the score then? An old issue which wasn't helped by rushed pacing: the huge cast was often misused and certain plot threads were left unresolved. Too many minor characters were introduced without giving them enough weight to stand on. Many of them didn't require much attention in the first place -I can see that the story works regardless- but others did seem to demand either more screen time or more convincing motivations. The show's antagonists, some more than others, were noticeably lacking. In the end, the picture is definitely mixed here and I can't help but feel that a lot more could have been done with a smaller number of characters. Enjoyment: Code Geass R2 was an entertaining show, in many different ways, and I do not regret watching it. From the serious to the absurd, from cliffhanger to cliffhanger, the series succeeded in making me anticipate almost every upcoming episode. There are specific events which can't be taken seriously, at all, and the staff must surely be aware of this. But there are also some genuinely effective moments in the mix, depending on what the viewer is willing to put up with, and while the series can be rightfully accused of being emotionally manipulative it isn't nearly as senseless as it appears to be on the surface. In short, R2 benefits from simply being fun to watch, even though it is very true that there were problematic issues along the way. Many of the show's flaws could have been avoided with a tighter narrative, more explanations and a far more reasonable pace. As a sequel, Code Geass R2 feels appropriate yet also disappointing. Not everyone will be happy with the end result and I have my own complaints, but Code Geass, as a whole, was a worthwhile experience.
Reviewer’s Rating: 7
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Aug 2, 2008
Hi no Tori
(Anime)
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Hi no Tori, also known as Phoenix, is an adaptation of Osamu Tezuka's most ambitious but ultimately unfinished manga.
I felt quite intimidated, being new to most of Tezuka's work, but the nature of the story and its excellent execution allows Hi no Tori to be surprisingly entertaining while still remaining emotionally and intellectually stimulating. Story: The premise seems simple on the surface: the hunt for an immortal bird whose blood is said to provide eternal life. It is not that, however, which leaves a lasting impression on the viewer, but everything else that happens around it. Each story arc has its own cast of characters whose ... respective trials and fates through the ages lead us to a powerful but poignant message, one which also asks more questions than those it answers, directly or indirectly, about life and its value. It's hard to estimate how much of the original manga is being respected in this adaptation, as I have not read it, but director Ryosuke Takahashi does a wonderful job at conveying a sense of internal consistency and the end result is certainly effective. Any added, removed or altered details, for reasons of time constraints and possibly subject matter, do not get in the way. Animation: Most of the character designs are based on Tezuka's artistic style and are repeatedly recycled, which may be a negative for other viewers. I would admit they are cartoony, but a few begin to look a little more modern as the series goes on. It didn't really bother me though. The animation's production values also vary, but they're usually quite fitting and tend to improve. The Phoenix itself, in particular, provides a few opportunities to showcase some nice special effects. Sound: The opening and ending themes are fine, for my tastes, but they do work better as part of the show than by themselves. The remaining musical themes mainly stayed in the background but were also used to convey comfort, tragedy, action, hope and desperation at the appropriate moments. Character: Tezuka's characters are not that complex, but their personalities are strong and the plot twists definitely do not pander to the crowd. Tragedy is commonplace, as it is a fact of life, yet so is the struggle against it, the struggle to overcome, the struggle to survive. At the end of the day, what remains may seem disheartening, even if not everything is bleak. There are sparse comedic moments, acts of heroism and altruism, acts of pure villainy, loss of life, senseless or otherwise, all showing different aspects of humanity's mosaic. A special note must be made about the Phoenix itself, a very intriguing entity in its own right, whose role and intentions seemingly vary throughout the show, something which could literally spark entire debates. Enjoyment: I enjoyed this anime a lot more than originally expected, especially because of all the food for thought it provides, whose surface I have barely scratched. I will now seek to read the manga, in order to have a better understanding of what Tezuka himself did with the material, but it doesn't seem that his spirit was lost to the anime staff. Hi no Tori is definitely great but, unfortunately, often overlooked. If you want something that can make you think about difficult questions, and don't mind if it's not flashy or action-oriented, go ahead and check it out . A word of caution: watch each arc in one go, but do not try to marathon the entire series. Some downtime may be required to fully appreciate the themes and implications of each story and to recover from any resulting emotional fallout. The need for this may well vary from person to person, but it proved useful in my case.
Reviewer’s Rating: 9
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Jan 8, 2008
Gekiganger 3: The Movie
(Anime)
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Gekiganger 3, a fictional anime within the Martian Successor Nadesico TV series, is a parody/tribute to old 70s Super Robot shows, like Mazinger Z and Getter Robo.
Those are all the basics. I liked it, and if you appreciate old-school Super Robot shows, or like to make fun of the formula and its quirks, this is a nice OVA which can be enjoyed without using up too much of your time. Story: The OVA is quite self-contained, so you don't really need to know about Nadesico in order to understand it. A couple of Nadesico characters are going to see the Gekiganger 3 movie, but they ... don't really interrupt the action once it begins, which is fair enough. Previous Nadesico knowledge will give you a little bit of extra background info, making it a plus but nothing essential. Before the main feature, a short compilation of episodes from the fictional Gekiganger 3 TV series provides a quick overview of the story so far, what the characters are like and how their world works. Some viewers prefer the compilation to the movie, but I think both work here and, if anything, the movie is a fair representation of what similar projects were like in reality: an excuse to see robots and aliens beat the crap out of each other, without being too concerned about plot holes and continuity issues. The Gekiganger 3 story itself isn't going to win any awards for originality or complexity, but it's not meant to: three passionate young men combine their powers to pilot a giant Super Robot in order to defend the Earth from alien invaders. A timeless formula, whether you take it seriously, like the characters in the show and countless others do, or just want to laugh at the ensuing over the top antics, silly melodrama and mindless hot blooded action. Having a little bit of both perspectives is fine too, of course. Animation: Character and mecha designs are intentionally meant to look dated and aren't very impressive (not to mention original) by modern standards, but they definitely give the OVA a nice classic feel. Production values are decent and the animation, while lacking, is relatively smooth at key moments. It has to be said that tolerating a generous use of stock footage is a must, obviously, especially during robot transformation and attack sequences. Sound: The music, while somewhat repetitive, is quite good for the Super Robot genre, being mostly energetic but also melodramatic or sad when it needs to. The Gekiganger 3 theme song is actually pretty catchy as well, especially if you like older anime openings. Character: Since this is supposed to be a Super Robot parody/tribute, the characters are directly inspired by the heroes, villains and supporting cast members of genre classics like Mazinger Z and Getter Robo, among others. Many of them are fine archetypes of good and evil, their stories being simple and entirely predictable if you've seen any Super Robot shows before, but still fun to watch in action. Again, you shouldn't expect to see, say, the cast of an ambitious space opera here, and the OVA is far too short to even remotely contemplate it. Enjoyment: The Gekiganger 3 OVA can be pretty enjoyable if you're prepared to see something of this nature and don't expect to see a completely different show. If that's the case, then this is a fairly good parody/tribute to a classic genre. If Super Robot shows seem like a bore and older animation is a pain to watch, then this probably isn't going to change your mind.
Reviewer’s Rating: 7
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Jan 5, 2008
Code Geass: Hangyaku no Lelouch
(Anime)
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Recommended
Code Geass is one of those series that can inspire praise, hatred or mere ridicule, depending on what is expected or what can be tolerated. Curiously, I find entirely valid reasons behind each of those reactions. There's still a bit of this and that, to put it bluntly, but perhaps the lines aren't quite as clear as they seem.
In short, I enjoyed the series and still find that its virtues and sheer fun factor outweigh its objective flaws, but I'm worried about the future. Whether or not the inevitable sequel picks up the slack, addresses existing concerns or drops the ball completely is something that ... only Sunrise knows at this point. In any case, we might as well enjoy what we can. Story: The premise is melodramatic and ambitious enough. Lelouch, the protagonist, is embarking on a personal quest through the use of his intellect and a mysterious power, motivated by personal revenge and morally ambiguous altruism. The setting is divided into two spheres, the edgier world of military/politics and the more carefree environment of the Ashford academy, with their respective casts of characters. There's a clear element of mecha action here as well, even if it's not really the main attraction and doesn't dominate the show. The pace is definitely fast and unrelenting...perhaps it's all a bit much for Lelouch's and the story's own good, though, as things turn out. The writing and direction can be uneven during the weaker moments, but are absolutely thrilling at their best. Most of it develops quite nicely, with some general predictability and a few genuine surprises that keep things interesting. The biggest concerns are certain major twists which threaten to overwhelm the viewer, if they are not enjoyed or understood. Intentional and unintentional humor, such as Pizza Hut's sponsorship or many over the top sequences, can be occasionally distracting as well. I personally felt that the basic focus is never lost, however, when all is said and done, in spite of a few undeniable blunders or red herrings. In the end, we've only seen half the story and, for better or for worse, the upcoming sequel has the responsibility of providing true resolution. Or at least trying to do so in an interesting way, whether it fails or succeeds at it. Animation: Production values are good and tend to stay consistent. I've never been a CLAMP fan, mostly due to unfamiliarity, so their original character designs for Code Geass -while distinctive and attractive- don't really impress me too much. They may also look strange from certain angles. The mechanical designs are just fine for the show's purposes, with a couple of particularly well done models. Sound: The music is appropriate and mostly unobtrusive, whether the mood is serious, exciting, relaxed, mischievous, dramatic or tragic. Not exactly the best soundtrack I've ever heard, as a few tracks could use more variety. The opening and ending themes are quite well done, as a rule, and tend to fit the show. Naturally, your mileage may vary here. Character: For someone who is often accused of being a copycat there are certain nuances to Lelouch's personality that set him apart, such as his emotional range and a sense of humanity emerging from his internal conflicts or character flaws. Predictably, the protagonist himself carries the show on his back and receives the most development, which is good since he does deserve much of it and this makes him an interesting subject of study. Having said that, said development has at least one major drawback: it may not be what people are expecting and finding certain events relatively disappointing or even anti-climatic is quite possible. Suzaku, who also plays an important role as Lelouch's foil, has a self-righteous personality and his interference can be very annoying to witness. He does have some complexity though, even if it's still a hard sell for those who find themselves sympathizing with Lelouch/Zero. C.C. herself is mysterious enough, as we've only seen bits and pieces of information regarding her background thus far, but remains an intriguing and generally fun character by virtue of her interactions with Lelouch. Secondary characters tend to get some attention too, with interesting results in the major cases whether you appreciate their fates or not. The big issue for me is that the cast of characters might seem a bit too large as the show goes on, with a couple of unnecessary additions towards the later half that tend to delay, limit or rush development. Still, this is the kind of show where such size makes sense on paper given its scope, but as a result we will have to wait for the sequel in order to see if a few questionable plot threads are continued, resolved or at least replaced. Enjoyment: The first season of Code Geass, even though I wasn't entirely convinced about certain plot twists and openly laughed along with certain sequences or developments, was certainly entertaining and rarely boring. In short, I appreciated both the genuinely well-done portions and several of the more absurd scenarios. The show is not a masterpiece by any means, nor is it going to please every sector of the audience that it will initially attract. I'd still be perfectly happy to recommend it to those who haven't seen it.
Reviewer’s Rating: 8
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